García Lorca at the Edge of Surrealism : The Aesthetics of Anguish

Note on translations -- Introduction: foundations for a dissident surrealism -- Spanish surrealism's absent father: sub-realism from Juan Larrea to Federico García Lorca -- Burning in the void: an aesthetics of informe in Lorca's New York -- Truth, mutation, and the closure of representation: sovereign identity in Lorca's Retablillo and El público -- Rotten roses and other botanical bereavements: vanguardist floral (dis)arrangements and Lorca's Doña Rosita -- Lorca and Bataille beyond surrealism: Sonetos del amor oscuro and the erotic imperative -- Conclusion: an ethics of informe.;"García Lorca at the Edge of Surrealism: The Aesthetics of Anguish examines the variations of surrealism and surrealist theories in the Spanish context, studied through the poetry, drama, and drawings of Federico García Lorca (1898-1936). In contrast to the idealist and subconscious tenets espoused by surrealist leader André Breton, which focus on the marvelous, automatic creative processes, and sublimated depictions of reality, Lorca's surrealist impulse follows a trajectory more in line with the theories of French intellectuals such as Georges Bataille (1897-1962), who was expulsed from Breton's authoritative group. Bataille critiques the lofty goals and ideals of Bretonian surrealism in the pages of the cultural and anthropological review Documents (1929-1930) in terms of a dissident surrealist ethno-poetics. This brand of the surreal underscores the prevalence of the bleak or darker aspects of reality: crisis, primitive sacrifice, the death drive, and the violent representation of existence portrayed through formless base matter such as blood, excrement, and fragmented bodies. Drawing extensively on the theoretical, cultural, and poetic texts of the period, García Lorca at the Edge of Surrealism offers the first book-length study to consider Bataille's thinking within the Spanish context, examined through the work of Lorca, a singular exponent of what is here referred to as a dissident Spanish surrealism. By reading Lorca's "surrealist" texts (including Poeta en Nueva York, Viaje a la luna, and El público) through the Bataillean lens, this volume both amplifies our understanding of the poetry and drama of one of the most important Spanish writers of the twentieth century and also expands our perspective of what surrealism in Spain means"-- García Lorca At The Edge Of Surrealism: The Aesthetics Of Anguish Examines The Variations Of Surrealism And Surrealist Theories In The Spanish Context, Studied Through The Poetry, Drama, And Drawings Of Federico García Lorca (1898-1936). In Contrast To The Idealist And Subconscious Tenets Espoused By Surrealist Leader André Breton, Which Focus On The Marvelous, Automatic Creative Processes, And Sublimated Depictions Of Reality, Lorca's Surrealist Impulse Follows A Trajectory More In Line With The Theories Of French Intellectuals Such As Georges Bataille (1897-1962), Who Was Expulsed From Breton's Authoritative Group. Bataille Critiques The Lofty Goals And Ideals Of Bretonian Surrealism In The Pages Of The Cultural And Anthropological Review Documents (1929-1930) In Terms Of A Dissident Surrealist Ethno-poetics. This Brand Of The Surreal Underscores The Prevalence Of The Bleak Or Darker Aspects Of Reality: Crisis, Primitive Sacrifice, The Death Drive, And The Violent Representation Of Existence Portrayed Through Formless Base Matter Such As Blood, Excrement, And Fragmented Bodies. Drawing Extensively On The Theoretical, Cultural, And Poetic Texts Of The Period, García Lorca At The Edge Of Surrealism Offers The First Book-length Study To Consider Bataille's Thinking Within The Spanish Context, Examined Through The Work Of Lorca, A Singular Exponent Of What Is Here Referred To As A Dissident Spanish Surrealism. By Reading Lorca's Surrealist Texts (including Poeta En Nueva York, Viaje A La Luna, And El Público) Through The Bataillean Lens, This Volume Both Amplifies Our Understanding Of The Poetry And Drama Of One Of The Most Important Spanish Writers Of The Twentieth Century And Also Expands Our Perspective Of What Surrealism In Spain Means -- Note On Translations -- Introduction: Foundations For A Dissident Surrealism -- Spanish Surrealism's Absent Father: Sub-realism From Juan Larrea To Federico García Lorca -- Burning In The Void: An Aesthetics Of Informe In Lorca's New York -- Truth, Mutation, And The Closure Of Representation: Sovereign Identity In Lorca's Retablillo And El Público -- Rotten Roses And Other Botanical Bereavements: Vanguardist Floral (dis)arrangements And Lorca's Doña Rosita -- Lorca And Bataille Beyond Surrealism: Sonetos Del Amor Oscuro And The Erotic Imperative -- Conclusion: An Ethics Of Informe. David F. Richter. Includes Bibliographical References And Index. García Lorca at the Edge of Surrealism: The Aesthetics of Anguish examines the variations of surrealism and surrealist theories in the Spanish context, studied through the poetry, drama, and drawings of Federico García Lorca (1898–1936). In contrast to the idealist and subconscious tenets espoused by surrealist leader André Breton, which focus on the marvelous, automatic creative processes, and sublimated depictions of reality, Lorca's surrealist impulse follows a trajectory more in line with the theories of French intellectuals such as Georges Bataille (1897–1962), who was expelled from Breton's authoritative group. Bataille critiques the lofty goals and ideals of Bretonian surrealism in the pages of the cultural and anthropological review Documents (1929–1930) in terms of a dissident surrealist ethno-poetics. This brand of the surreal underscores the prevalence of the bleak or darker aspects of reality: crisis, primitive sacrifice, the death drive, and the violent representation of existence portrayed through formless base matter such as blood, excrement, and fragmented bodies. The present study demonstrates that Bataille's theoretical and poetic expositions, including those dealing with l'informe (the formless) and the somber emptiness of the void, engage the trauma and anxiety of surrealist expression in Spain, particularly with reference to the anguish, desire, and death that figure so prominently in Spanish texts of the 1920s and 1930s often qualified as "surrealist." Drawing extensively on the theoretical, cultural, and poetic texts of the period, García Lorca at the Edge of Surrealism offers the first book-length consideration of Bataille's thinking within the Spanish context, examined through the work of Lorca, a singular proponent of what is here referred to as a dissident Spanish surrealism. By reading Lorca's "surrealist" texts (including Poetaen Nueva York,Viaje a la luna, and El público) through the Bataillean lens, this volume both amplifies our understanding of the poetry and drama of one of the most important Spanish writers of the twentieth century and expands our perspective of what surrealism in Spain means. "García Lorca at the Edge of Surrealism: The Aesthetics of Anguish examines the variations of surrealism and surrealist theories in the Spanish context, studied through the poetry, drama, and drawings of Federico García Lorca (1898-1936). In contrast to the idealist and subconscious tenets espoused by surrealist leader André Breton, which focus on the marvelous, automatic creative processes, and sublimated depictions of reality, Lorca's surrealist impulse follows a trajectory more in line with the theories of French intellectuals such as Georges Bataille (1897-1962), who was expulsed from Breton's authoritative group. Bataille critiques the lofty goals and ideals of Bretonian surrealism in the pages of the cultural and anthropological review Documents (1929-1930) in terms of a dissident surrealist ethno-poetics. This brand of the surreal underscores the prevalence of the bleak or darker aspects of reality: crisis, primitive sacrifice, the death drive, and the violent representation of existence portrayed through formless base matter such as blood, excrement, and fragmented bodies. Drawing extensively on the theoretical, cultural, and poetic texts of the period, García Lorca at the Edge of Surrealism offers the first book-length study to consider Bataille's thinking within the Spanish context, examined through the work of Lorca, a singular exponent of what is here referred to as a dissident Spanish surrealism. By reading Lorca's "surrealist" texts (including Poeta en Nueva York, Viaje a la luna, and El público) through the Bataillean lens, this volume both amplifies our understanding of the poetry and drama of one of the most important Spanish writers of the twentieth century and also expands our perspective of what surrealism in Spain means" -- Provided by publisher "García Lorca at the Edge of Surrealism: The Aesthetics of Anguish examines the variations of surrealism and surrealist theories in the Spanish context, studied through the poetry, drama, and drawings of Federico García Lorca (1898-1936). In contrast to the idealist and subconscious tenets espoused by surrealist leader André Breton, which focus on the marvelous, automatic creative processes, and sublimated depictions of reality, Lorca's surrealist impulse follows a trajectory more in line with the theories of French intellectuals such as Georges Bataille (1897-1962), who was expulsed from Breton's authoritative group. Bataille critiques the lofty goals and ideals of Bretonian surrealism in the pages of the cultural and anthropological review Documents (1929-1930) in terms of a dissident surrealist ethno-poetics. This brand of the surreal underscores the prevalence of the bleak or darker aspects of reality: crisis, primitive sacrifice, the death drive, and the violent representation of existence portrayed through formless base matter such as blood, excrement, and fragmented bodies. Drawing extensively on the theoretical, cultural, and poetic texts of the period, García Lorca at the Edge of Surrealism offers the first book-length study to consider Bataille's thinking within the Spanish context, examined through the work of Lorca, a singular exponent of what is here referred to as a dissident Spanish surrealism. By reading Lorca's "surrealist" texts (including Poeta en Nueva York, Viaje a la luna, and El público) through the Bataillean lens, this volume both amplifies our understanding of the poetry and drama of one of the most important Spanish writers of the twentieth century and also expands our perspective of what surrealism in Spain means"-- Résumé de l'éditeur Contents 9 Illustrations 11 Acknowledgments 13 Permissions 15 Abbreviations 19 Note on Translations 21 Introduction: Foundations for a Dissident Surrealism 23 Chapter One: Spanish Surrealism’s Absent Father: Sub-Realism from Juan Larrea to Federico García Lorca 45 Chapter Two: Burning in the Void: An Aesthetics of Informe in Lorca’s New York 91 Chapter Three: Truth, Mutation, and the Closure of Representation: Sovereign Identity in Lorca’s Retablillo and El público 147 Chapter Four: Rotten Roses and Other Botanical Bereavements: Vanguardist Floral (Dis)arrangements and Lorca’sDoña Rosita 195 Chapter Five: Lorca and Bataille beyond Surrealism: Sonetos del amor oscuro andthe Erotic Imperative 241 Conclusion: An Ethics of Informe 279 Bibliography 291 Index 303 About the Author 313 This volume examines the variations of surrealism and surrealist theories in the Spanish context, studied through the poetry, drama, and drawings of Federico García Lorca. In contrast to the idealist and subconscious tenets espoused by surrealist leader André Breton, Lorca’s surrealist impulse follows a trajectory more in line with the theories of dissident French intellectuals such as Georges Bataille—theories that underscore the darker, anguish-filled realities of modern human consciousness.